Leonardo

'Free Association' and the ArtistAuthor(s): Claire DavidsonSource: Leonardo, Vol. 2, No. 3 (Jul., 1969), pp. 332-333Published by: The MIT PressStable URL: http://www.jstor.org/stable/1572174 .

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Letters-Lettres Letters-Lettres

of fact, go to some lengths in a preface to warn against taking what follows too seriously! But why then do it at all! Gropius is, of course, well aware of the need to avoid fossilizing a once live thing. I suspect, however, that a cool analysis of these prob- lems will be difficult, for strong passions are aroused on the matter of artistic freedom.

More particularly, there seems to me a deep cultural division between the philosophical and poli- tical traditions of England and continental Europe. (I don't know about America.) Freedom in the English liberal tradition-which motivates most art school curricula-implies something traditional, tentative, provisional, modest and, in the last resort, laissez-faire. This is in contrast to the continental radicalism of Gropius' clarion call to action: con- fident, crisp, universal and disciplined. The very confidence that someone knows the answer sticks in the throat of many Englishmen. Certainly the Bauhaus manifesto, blown up large at the entrance to the 50th Anniversary of the Bauhaus exhibition in London last year irritated a good many students. They, born in the 1950's and unaware of the tragic history of Germany thought it was 'typically German'! The ironies of this situation are detailed in the chapter on Gropius in J. M. Fitch's Arch- itecture and the Esthetics of Plenty (New York: Columbia University Press, 1961) whose generous assessment of Gropius as a great humanist I of course share.

But it is precisely because I like (and practice) a post-Bauhaus, 'constructive' art and because I be- lieve, like Fitch, that we have been freewheeling on the energies of the Gropius' generations for fifty years, that it is time to rethink the philosophy of Basic Design in modern terms. New theoretical tools are to hand, new standards of logical rigour mandatory. My article presented a number of quite specific analyses, criticisms and suggestions. I would be delighted if they served to open a debate (which perhaps meant their refutation in turn) in which our generation could do justice to the Bauhaus by really 'making it new'.

Peter Lloyd Jones 22 Bradbourne Street,

Fulham, London, S. W.6, England.

'FREE ASSOCIATION' AND THE ARTIST

Fitzou in her Note on 'An Artist's Reaction to the Barricades of Paris, 1968' (Leonardo 2, 57 (1969)), refers to 'free association' as an impediment to the creative process. My comments on the Note are offered to clarify two distinct understandings of 'free association' and to demonstrate the creative process according to the concept of 'free association' in psychoanalytical theory.

of fact, go to some lengths in a preface to warn against taking what follows too seriously! But why then do it at all! Gropius is, of course, well aware of the need to avoid fossilizing a once live thing. I suspect, however, that a cool analysis of these prob- lems will be difficult, for strong passions are aroused on the matter of artistic freedom.

More particularly, there seems to me a deep cultural division between the philosophical and poli- tical traditions of England and continental Europe. (I don't know about America.) Freedom in the English liberal tradition-which motivates most art school curricula-implies something traditional, tentative, provisional, modest and, in the last resort, laissez-faire. This is in contrast to the continental radicalism of Gropius' clarion call to action: con- fident, crisp, universal and disciplined. The very confidence that someone knows the answer sticks in the throat of many Englishmen. Certainly the Bauhaus manifesto, blown up large at the entrance to the 50th Anniversary of the Bauhaus exhibition in London last year irritated a good many students. They, born in the 1950's and unaware of the tragic history of Germany thought it was 'typically German'! The ironies of this situation are detailed in the chapter on Gropius in J. M. Fitch's Arch- itecture and the Esthetics of Plenty (New York: Columbia University Press, 1961) whose generous assessment of Gropius as a great humanist I of course share.

But it is precisely because I like (and practice) a post-Bauhaus, 'constructive' art and because I be- lieve, like Fitch, that we have been freewheeling on the energies of the Gropius' generations for fifty years, that it is time to rethink the philosophy of Basic Design in modern terms. New theoretical tools are to hand, new standards of logical rigour mandatory. My article presented a number of quite specific analyses, criticisms and suggestions. I would be delighted if they served to open a debate (which perhaps meant their refutation in turn) in which our generation could do justice to the Bauhaus by really 'making it new'.

Peter Lloyd Jones 22 Bradbourne Street,

Fulham, London, S. W.6, England.

'FREE ASSOCIATION' AND THE ARTIST

Fitzou in her Note on 'An Artist's Reaction to the Barricades of Paris, 1968' (Leonardo 2, 57 (1969)), refers to 'free association' as an impediment to the creative process. My comments on the Note are offered to clarify two distinct understandings of 'free association' and to demonstrate the creative process according to the concept of 'free association' in psychoanalytical theory.

Creativity is an elusive process: we are surrounded by imaginative works but there is still no precise understanding of the process. There are some guide-

Creativity is an elusive process: we are surrounded by imaginative works but there is still no precise understanding of the process. There are some guide-

lines: a relationship exists between the creative arts of today and psychoanalytical theory. Andre Breton, the founder of surrealism, for example, knew and was familiar with Freud and his work. Art to the surrealist was to set down the floating dreams and thoughts arising from a half awake or uncon- scious state. To let the irrational, incomplete thoughts flow out as in a dream with little conscious direction (or censorship) is also one of the techniques of psychoanalysis called 'free association'.

Another use of the term 'free association' derives from the works of other men and for a different purpose. Jung's and Kent-Rosanoff's word asso- ciation tests established a list of normal and eccentric word responses to stimuli words. A subject given a stimulus word is required to respond by the first word that comes to his mind. The subject's score depends upon the frequency of the popular and unusual responses made. This second use of 'free association' involves an expectancy of normative responses from most people, rather than a flow of unique responses.

Fitzou found that the latter use of 'free associa- tion', devised as a testing tool, limited the creative process. This state is understandable. Psychological studies demonstrate that in addition to stimulus- word association, there is a correspondence between language and thinking within a culture (Whorf's linguistic relativity hypothesis). Symbols and images readily codified through language have a high pos- itive relation to their use in thinking. Fitzou's original associations with the events of May prove this point. The group of concrete images, such as 'barricades evoke prison bars giving linear images blocking something behind' are ideas and thoughts probably experienced by many other people stimu- lated by such events. These are products of con- sciously directed cogitation and not a free flowing unconscious process.

Experimentation does not show a lawful relation- ship among such variables as emotions, color and shape. Psychological studies, however, indicate that there is a learned relationship among these different factors for people conditioned to similar language accompaniments. The color red, for ex- ample calls up to many people in our culture strong, fiery and exciting images and feelings. The artist's association to the patterns of stimuli were the ex- pected responses to the events of May: this explains the paralysis of thought. The ideas were limited to the reality of the events: the artist was imprisoned by the learned universal figures.

To create order where none existed before is the goal of each artist. This is possible for an artist when he is willing to follow his own lead. In the situation described, the artist was stimulated by the events and, at first, handicapped by the learned relevant responses. Creativity emerged when the artist re- jected the conscious stereotype associations and the influence of the art products around. (The latter, the

lines: a relationship exists between the creative arts of today and psychoanalytical theory. Andre Breton, the founder of surrealism, for example, knew and was familiar with Freud and his work. Art to the surrealist was to set down the floating dreams and thoughts arising from a half awake or uncon- scious state. To let the irrational, incomplete thoughts flow out as in a dream with little conscious direction (or censorship) is also one of the techniques of psychoanalysis called 'free association'.

Another use of the term 'free association' derives from the works of other men and for a different purpose. Jung's and Kent-Rosanoff's word asso- ciation tests established a list of normal and eccentric word responses to stimuli words. A subject given a stimulus word is required to respond by the first word that comes to his mind. The subject's score depends upon the frequency of the popular and unusual responses made. This second use of 'free association' involves an expectancy of normative responses from most people, rather than a flow of unique responses.

Fitzou found that the latter use of 'free associa- tion', devised as a testing tool, limited the creative process. This state is understandable. Psychological studies demonstrate that in addition to stimulus- word association, there is a correspondence between language and thinking within a culture (Whorf's linguistic relativity hypothesis). Symbols and images readily codified through language have a high pos- itive relation to their use in thinking. Fitzou's original associations with the events of May prove this point. The group of concrete images, such as 'barricades evoke prison bars giving linear images blocking something behind' are ideas and thoughts probably experienced by many other people stimu- lated by such events. These are products of con- sciously directed cogitation and not a free flowing unconscious process.

Experimentation does not show a lawful relation- ship among such variables as emotions, color and shape. Psychological studies, however, indicate that there is a learned relationship among these different factors for people conditioned to similar language accompaniments. The color red, for ex- ample calls up to many people in our culture strong, fiery and exciting images and feelings. The artist's association to the patterns of stimuli were the ex- pected responses to the events of May: this explains the paralysis of thought. The ideas were limited to the reality of the events: the artist was imprisoned by the learned universal figures.

To create order where none existed before is the goal of each artist. This is possible for an artist when he is willing to follow his own lead. In the situation described, the artist was stimulated by the events and, at first, handicapped by the learned relevant responses. Creativity emerged when the artist re- jected the conscious stereotype associations and the influence of the art products around. (The latter, the posters and the lithographs, are examples of art forms used as problem-solving propaganda efforts to arouse a universal reaction and, in this situation,

posters and the lithographs, are examples of art forms used as problem-solving propaganda efforts to arouse a universal reaction and, in this situation,

332 332

This content downloaded from 188.72.126.118 on Thu, 12 Jun 2014 14:01:13 PMAll use subject to JSTOR Terms and Conditions

Letters-Lettres Letters-Lettres Letters-Lettres Letters-Lettres Letters-Lettres Letters-Lettres

a reaction of the French people against the police and the established authority).

Unlike many of the people, students and artists of France, the American artist was somewhat freer to step away from the events. Fitzou 'did not see' the barricades or the violence: only the results were seen. She did not need to conform to the propaganda goals: she was interested and affected but only as an onlooker.

The artist rejected the obvious conscious thoughts and the art of the time, and stepped away from the events descending into unconscious thoughts and irrational ideas. Her thoughts flowed through the 'doodles'. As the 'doodles' took shape she came back to rationality. A unified whole was created with the conflicting elements held in balance, thus ordering the events. The Note, the written associa- tions to 'The Barricades', testify the relevance of the paintings to the events of the period.

The steps described by the artist as leading to the paintings, not the original stereotype stimulus word-image associations, are a description of the dynamic process of creativity according to psycho- analytical theory.

Claire Davidson, Clinical Psychologist Paris, France.

a reaction of the French people against the police and the established authority).

Unlike many of the people, students and artists of France, the American artist was somewhat freer to step away from the events. Fitzou 'did not see' the barricades or the violence: only the results were seen. She did not need to conform to the propaganda goals: she was interested and affected but only as an onlooker.

The artist rejected the obvious conscious thoughts and the art of the time, and stepped away from the events descending into unconscious thoughts and irrational ideas. Her thoughts flowed through the 'doodles'. As the 'doodles' took shape she came back to rationality. A unified whole was created with the conflicting elements held in balance, thus ordering the events. The Note, the written associa- tions to 'The Barricades', testify the relevance of the paintings to the events of the period.

The steps described by the artist as leading to the paintings, not the original stereotype stimulus word-image associations, are a description of the dynamic process of creativity according to psycho- analytical theory.

Claire Davidson, Clinical Psychologist Paris, France.

a reaction of the French people against the police and the established authority).

Unlike many of the people, students and artists of France, the American artist was somewhat freer to step away from the events. Fitzou 'did not see' the barricades or the violence: only the results were seen. She did not need to conform to the propaganda goals: she was interested and affected but only as an onlooker.

The artist rejected the obvious conscious thoughts and the art of the time, and stepped away from the events descending into unconscious thoughts and irrational ideas. Her thoughts flowed through the 'doodles'. As the 'doodles' took shape she came back to rationality. A unified whole was created with the conflicting elements held in balance, thus ordering the events. The Note, the written associa- tions to 'The Barricades', testify the relevance of the paintings to the events of the period.

The steps described by the artist as leading to the paintings, not the original stereotype stimulus word-image associations, are a description of the dynamic process of creativity according to psycho- analytical theory.

Claire Davidson, Clinical Psychologist Paris, France.

a reaction of the French people against the police and the established authority).

Unlike many of the people, students and artists of France, the American artist was somewhat freer to step away from the events. Fitzou 'did not see' the barricades or the violence: only the results were seen. She did not need to conform to the propaganda goals: she was interested and affected but only as an onlooker.

The artist rejected the obvious conscious thoughts and the art of the time, and stepped away from the events descending into unconscious thoughts and irrational ideas. Her thoughts flowed through the 'doodles'. As the 'doodles' took shape she came back to rationality. A unified whole was created with the conflicting elements held in balance, thus ordering the events. The Note, the written associa- tions to 'The Barricades', testify the relevance of the paintings to the events of the period.

The steps described by the artist as leading to the paintings, not the original stereotype stimulus word-image associations, are a description of the dynamic process of creativity according to psycho- analytical theory.

Claire Davidson, Clinical Psychologist Paris, France.

a reaction of the French people against the police and the established authority).

Unlike many of the people, students and artists of France, the American artist was somewhat freer to step away from the events. Fitzou 'did not see' the barricades or the violence: only the results were seen. She did not need to conform to the propaganda goals: she was interested and affected but only as an onlooker.

The artist rejected the obvious conscious thoughts and the art of the time, and stepped away from the events descending into unconscious thoughts and irrational ideas. Her thoughts flowed through the 'doodles'. As the 'doodles' took shape she came back to rationality. A unified whole was created with the conflicting elements held in balance, thus ordering the events. The Note, the written associa- tions to 'The Barricades', testify the relevance of the paintings to the events of the period.

The steps described by the artist as leading to the paintings, not the original stereotype stimulus word-image associations, are a description of the dynamic process of creativity according to psycho- analytical theory.

Claire Davidson, Clinical Psychologist Paris, France.

a reaction of the French people against the police and the established authority).

Unlike many of the people, students and artists of France, the American artist was somewhat freer to step away from the events. Fitzou 'did not see' the barricades or the violence: only the results were seen. She did not need to conform to the propaganda goals: she was interested and affected but only as an onlooker.

The artist rejected the obvious conscious thoughts and the art of the time, and stepped away from the events descending into unconscious thoughts and irrational ideas. Her thoughts flowed through the 'doodles'. As the 'doodles' took shape she came back to rationality. A unified whole was created with the conflicting elements held in balance, thus ordering the events. The Note, the written associa- tions to 'The Barricades', testify the relevance of the paintings to the events of the period.

The steps described by the artist as leading to the paintings, not the original stereotype stimulus word-image associations, are a description of the dynamic process of creativity according to psycho- analytical theory.

Claire Davidson, Clinical Psychologist Paris, France.

CLOCKS

'When the revelation of the isochronism of small oscillations of a pendulum came to Galileo Galilei (1564-1642) in the cathedral at Pisa, he had no chro- nometer to verify it. He was content to use his pulse as a check for this hypothesis. His discovery eventually led to the construction of clocks.' (FranCois le Lionnais, Leonardo 2, 75 (1969)).

'The invention of the first clock is ascribed to Pope Sylvester II in A.D. 996. A clock was put up in a former clock-tower at Westminster in 1288, one in Canterbury cathedral in 1292, and another at St. Albans in 1326 which showed various astronomical phenomena.' (Clocks, Encyclopaedia Britannica 5, 835 (1951)).

J. M. Cook 1 Marshall Ave.,

Willerby, E. Yorkshire, England.

PROBLEM OF THE MASS MARKET

The Note 'Inspired Pretenders' by Herman Cherry (Leonardo 2, 55 (1969)) is remarkable for the concise, direct expression of a truth I have recognized for years now. While I most heartily concur with almost every phrase, I particularly like his indict- ment in the fourth and second from last paragraphs. The attitudes mentioned are also eroding the con- cepts of creativity, initiative and imagination. I know of no solution to the problem. Supposedly the universities, if they had teachers with the right qualifications, or the museums, if they trusted critics

CLOCKS

'When the revelation of the isochronism of small oscillations of a pendulum came to Galileo Galilei (1564-1642) in the cathedral at Pisa, he had no chro- nometer to verify it. He was content to use his pulse as a check for this hypothesis. His discovery eventually led to the construction of clocks.' (FranCois le Lionnais, Leonardo 2, 75 (1969)).

'The invention of the first clock is ascribed to Pope Sylvester II in A.D. 996. A clock was put up in a former clock-tower at Westminster in 1288, one in Canterbury cathedral in 1292, and another at St. Albans in 1326 which showed various astronomical phenomena.' (Clocks, Encyclopaedia Britannica 5, 835 (1951)).

J. M. Cook 1 Marshall Ave.,

Willerby, E. Yorkshire, England.

PROBLEM OF THE MASS MARKET

The Note 'Inspired Pretenders' by Herman Cherry (Leonardo 2, 55 (1969)) is remarkable for the concise, direct expression of a truth I have recognized for years now. While I most heartily concur with almost every phrase, I particularly like his indict- ment in the fourth and second from last paragraphs. The attitudes mentioned are also eroding the con- cepts of creativity, initiative and imagination. I know of no solution to the problem. Supposedly the universities, if they had teachers with the right qualifications, or the museums, if they trusted critics

CLOCKS

'When the revelation of the isochronism of small oscillations of a pendulum came to Galileo Galilei (1564-1642) in the cathedral at Pisa, he had no chro- nometer to verify it. He was content to use his pulse as a check for this hypothesis. His discovery eventually led to the construction of clocks.' (FranCois le Lionnais, Leonardo 2, 75 (1969)).

'The invention of the first clock is ascribed to Pope Sylvester II in A.D. 996. A clock was put up in a former clock-tower at Westminster in 1288, one in Canterbury cathedral in 1292, and another at St. Albans in 1326 which showed various astronomical phenomena.' (Clocks, Encyclopaedia Britannica 5, 835 (1951)).

J. M. Cook 1 Marshall Ave.,

Willerby, E. Yorkshire, England.

PROBLEM OF THE MASS MARKET

The Note 'Inspired Pretenders' by Herman Cherry (Leonardo 2, 55 (1969)) is remarkable for the concise, direct expression of a truth I have recognized for years now. While I most heartily concur with almost every phrase, I particularly like his indict- ment in the fourth and second from last paragraphs. The attitudes mentioned are also eroding the con- cepts of creativity, initiative and imagination. I know of no solution to the problem. Supposedly the universities, if they had teachers with the right qualifications, or the museums, if they trusted critics

CLOCKS

'When the revelation of the isochronism of small oscillations of a pendulum came to Galileo Galilei (1564-1642) in the cathedral at Pisa, he had no chro- nometer to verify it. He was content to use his pulse as a check for this hypothesis. His discovery eventually led to the construction of clocks.' (FranCois le Lionnais, Leonardo 2, 75 (1969)).

'The invention of the first clock is ascribed to Pope Sylvester II in A.D. 996. A clock was put up in a former clock-tower at Westminster in 1288, one in Canterbury cathedral in 1292, and another at St. Albans in 1326 which showed various astronomical phenomena.' (Clocks, Encyclopaedia Britannica 5, 835 (1951)).

J. M. Cook 1 Marshall Ave.,

Willerby, E. Yorkshire, England.

PROBLEM OF THE MASS MARKET

The Note 'Inspired Pretenders' by Herman Cherry (Leonardo 2, 55 (1969)) is remarkable for the concise, direct expression of a truth I have recognized for years now. While I most heartily concur with almost every phrase, I particularly like his indict- ment in the fourth and second from last paragraphs. The attitudes mentioned are also eroding the con- cepts of creativity, initiative and imagination. I know of no solution to the problem. Supposedly the universities, if they had teachers with the right qualifications, or the museums, if they trusted critics

CLOCKS

'When the revelation of the isochronism of small oscillations of a pendulum came to Galileo Galilei (1564-1642) in the cathedral at Pisa, he had no chro- nometer to verify it. He was content to use his pulse as a check for this hypothesis. His discovery eventually led to the construction of clocks.' (FranCois le Lionnais, Leonardo 2, 75 (1969)).

'The invention of the first clock is ascribed to Pope Sylvester II in A.D. 996. A clock was put up in a former clock-tower at Westminster in 1288, one in Canterbury cathedral in 1292, and another at St. Albans in 1326 which showed various astronomical phenomena.' (Clocks, Encyclopaedia Britannica 5, 835 (1951)).

J. M. Cook 1 Marshall Ave.,

Willerby, E. Yorkshire, England.

PROBLEM OF THE MASS MARKET

The Note 'Inspired Pretenders' by Herman Cherry (Leonardo 2, 55 (1969)) is remarkable for the concise, direct expression of a truth I have recognized for years now. While I most heartily concur with almost every phrase, I particularly like his indict- ment in the fourth and second from last paragraphs. The attitudes mentioned are also eroding the con- cepts of creativity, initiative and imagination. I know of no solution to the problem. Supposedly the universities, if they had teachers with the right qualifications, or the museums, if they trusted critics

CLOCKS

'When the revelation of the isochronism of small oscillations of a pendulum came to Galileo Galilei (1564-1642) in the cathedral at Pisa, he had no chro- nometer to verify it. He was content to use his pulse as a check for this hypothesis. His discovery eventually led to the construction of clocks.' (FranCois le Lionnais, Leonardo 2, 75 (1969)).

'The invention of the first clock is ascribed to Pope Sylvester II in A.D. 996. A clock was put up in a former clock-tower at Westminster in 1288, one in Canterbury cathedral in 1292, and another at St. Albans in 1326 which showed various astronomical phenomena.' (Clocks, Encyclopaedia Britannica 5, 835 (1951)).

J. M. Cook 1 Marshall Ave.,

Willerby, E. Yorkshire, England.

PROBLEM OF THE MASS MARKET

The Note 'Inspired Pretenders' by Herman Cherry (Leonardo 2, 55 (1969)) is remarkable for the concise, direct expression of a truth I have recognized for years now. While I most heartily concur with almost every phrase, I particularly like his indict- ment in the fourth and second from last paragraphs. The attitudes mentioned are also eroding the con- cepts of creativity, initiative and imagination. I know of no solution to the problem. Supposedly the universities, if they had teachers with the right qualifications, or the museums, if they trusted critics

with training and experience, could try to buck the evils of the mass market and the mass media.

Dick Land Division of Engineering and Applied Physics,

Engineering Sciences Laboratory, Harvard University,

Cambridge, Mass., U.S.A.

FROM THE RUSSIAN MOVEMENT GROUP

We have been very pleased with many aspects of thejournal. We consider very valuable the section called Calendar of Events and we appreciate the important information in the International Oppor- tunities for Artists section and also the Terminology section. In general the journal is very serious and rests on a solid foundation.

Now a little criticism. It is very nice that color illustrations are included but they are rather small in size and, therefore, in our opinion do not fulfil their expected purposes. Too large a white border swallows the reproduction.

Best greetings from the Russian kineticists, members of the Movement Group.

Lev Nusberg Poste Restante,

Moscow K 12, U.R.S.S.

with training and experience, could try to buck the evils of the mass market and the mass media.

Dick Land Division of Engineering and Applied Physics,

Engineering Sciences Laboratory, Harvard University,

Cambridge, Mass., U.S.A.

FROM THE RUSSIAN MOVEMENT GROUP

We have been very pleased with many aspects of thejournal. We consider very valuable the section called Calendar of Events and we appreciate the important information in the International Oppor- tunities for Artists section and also the Terminology section. In general the journal is very serious and rests on a solid foundation.

Now a little criticism. It is very nice that color illustrations are included but they are rather small in size and, therefore, in our opinion do not fulfil their expected purposes. Too large a white border swallows the reproduction.

Best greetings from the Russian kineticists, members of the Movement Group.

Lev Nusberg Poste Restante,

Moscow K 12, U.R.S.S.

with training and experience, could try to buck the evils of the mass market and the mass media.

Dick Land Division of Engineering and Applied Physics,

Engineering Sciences Laboratory, Harvard University,

Cambridge, Mass., U.S.A.

FROM THE RUSSIAN MOVEMENT GROUP

We have been very pleased with many aspects of thejournal. We consider very valuable the section called Calendar of Events and we appreciate the important information in the International Oppor- tunities for Artists section and also the Terminology section. In general the journal is very serious and rests on a solid foundation.

Now a little criticism. It is very nice that color illustrations are included but they are rather small in size and, therefore, in our opinion do not fulfil their expected purposes. Too large a white border swallows the reproduction.

Best greetings from the Russian kineticists, members of the Movement Group.

Lev Nusberg Poste Restante,

Moscow K 12, U.R.S.S.

with training and experience, could try to buck the evils of the mass market and the mass media.

Dick Land Division of Engineering and Applied Physics,

Engineering Sciences Laboratory, Harvard University,

Cambridge, Mass., U.S.A.

FROM THE RUSSIAN MOVEMENT GROUP

We have been very pleased with many aspects of thejournal. We consider very valuable the section called Calendar of Events and we appreciate the important information in the International Oppor- tunities for Artists section and also the Terminology section. In general the journal is very serious and rests on a solid foundation.

Now a little criticism. It is very nice that color illustrations are included but they are rather small in size and, therefore, in our opinion do not fulfil their expected purposes. Too large a white border swallows the reproduction.

Best greetings from the Russian kineticists, members of the Movement Group.

Lev Nusberg Poste Restante,

Moscow K 12, U.R.S.S.

with training and experience, could try to buck the evils of the mass market and the mass media.

Dick Land Division of Engineering and Applied Physics,

Engineering Sciences Laboratory, Harvard University,

Cambridge, Mass., U.S.A.

FROM THE RUSSIAN MOVEMENT GROUP

We have been very pleased with many aspects of thejournal. We consider very valuable the section called Calendar of Events and we appreciate the important information in the International Oppor- tunities for Artists section and also the Terminology section. In general the journal is very serious and rests on a solid foundation.

Now a little criticism. It is very nice that color illustrations are included but they are rather small in size and, therefore, in our opinion do not fulfil their expected purposes. Too large a white border swallows the reproduction.

Best greetings from the Russian kineticists, members of the Movement Group.

Lev Nusberg Poste Restante,

Moscow K 12, U.R.S.S.

with training and experience, could try to buck the evils of the mass market and the mass media.

Dick Land Division of Engineering and Applied Physics,

Engineering Sciences Laboratory, Harvard University,

Cambridge, Mass., U.S.A.

FROM THE RUSSIAN MOVEMENT GROUP

We have been very pleased with many aspects of thejournal. We consider very valuable the section called Calendar of Events and we appreciate the important information in the International Oppor- tunities for Artists section and also the Terminology section. In general the journal is very serious and rests on a solid foundation.

Now a little criticism. It is very nice that color illustrations are included but they are rather small in size and, therefore, in our opinion do not fulfil their expected purposes. Too large a white border swallows the reproduction.

Best greetings from the Russian kineticists, members of the Movement Group.

Lev Nusberg Poste Restante,

Moscow K 12, U.R.S.S.

PLUS DE PHOTOS ET MOINS DE TEXTES

Mes deux collegues sont, comme moi, tres satis- faits de votre revue, sauf en ce qui concerne l'6qui- libre entre la longueur des textes et le nombre de documents photographiques. Nous pensons qu'il faudrait davantage de photos et moins de textes.

Gerard Arnaud Cite Technique,

26-Romans, France.

HELP FROM LEONARDO

I have recently completed a book for the pub- lishers Studio Vista Ltd., to be published in the autumn. It is intended for art students, teachers and anyone who is interested in visual research.

The final chapter of the book consists of a selection of work and personal comment by contemporary artists, examples of concentration upon the specific areas of visual expression which I have been con- cerned with exploring, namely, line, shape, volume and light. Leonardo has been most useful to me in my research for this chapter, as it provides a unique platform for artists to speak directly about their own work. I am grateful to Leonardo for allowing me to include excerpts of articles by three of its contrib- utors: Malina, Alcopley and Seuphor.

As an artist myself, I believe that the confronta- tion between one's own notes on approach and procedures, and those of others, is the most en- lightening kind of communication between artists at all stages of development.

PLUS DE PHOTOS ET MOINS DE TEXTES

Mes deux collegues sont, comme moi, tres satis- faits de votre revue, sauf en ce qui concerne l'6qui- libre entre la longueur des textes et le nombre de documents photographiques. Nous pensons qu'il faudrait davantage de photos et moins de textes.

Gerard Arnaud Cite Technique,

26-Romans, France.

HELP FROM LEONARDO

I have recently completed a book for the pub- lishers Studio Vista Ltd., to be published in the autumn. It is intended for art students, teachers and anyone who is interested in visual research.

The final chapter of the book consists of a selection of work and personal comment by contemporary artists, examples of concentration upon the specific areas of visual expression which I have been con- cerned with exploring, namely, line, shape, volume and light. Leonardo has been most useful to me in my research for this chapter, as it provides a unique platform for artists to speak directly about their own work. I am grateful to Leonardo for allowing me to include excerpts of articles by three of its contrib- utors: Malina, Alcopley and Seuphor.

As an artist myself, I believe that the confronta- tion between one's own notes on approach and procedures, and those of others, is the most en- lightening kind of communication between artists at all stages of development.

PLUS DE PHOTOS ET MOINS DE TEXTES

Mes deux collegues sont, comme moi, tres satis- faits de votre revue, sauf en ce qui concerne l'6qui- libre entre la longueur des textes et le nombre de documents photographiques. Nous pensons qu'il faudrait davantage de photos et moins de textes.

Gerard Arnaud Cite Technique,

26-Romans, France.

HELP FROM LEONARDO

I have recently completed a book for the pub- lishers Studio Vista Ltd., to be published in the autumn. It is intended for art students, teachers and anyone who is interested in visual research.

The final chapter of the book consists of a selection of work and personal comment by contemporary artists, examples of concentration upon the specific areas of visual expression which I have been con- cerned with exploring, namely, line, shape, volume and light. Leonardo has been most useful to me in my research for this chapter, as it provides a unique platform for artists to speak directly about their own work. I am grateful to Leonardo for allowing me to include excerpts of articles by three of its contrib- utors: Malina, Alcopley and Seuphor.

As an artist myself, I believe that the confronta- tion between one's own notes on approach and procedures, and those of others, is the most en- lightening kind of communication between artists at all stages of development.

PLUS DE PHOTOS ET MOINS DE TEXTES

Mes deux collegues sont, comme moi, tres satis- faits de votre revue, sauf en ce qui concerne l'6qui- libre entre la longueur des textes et le nombre de documents photographiques. Nous pensons qu'il faudrait davantage de photos et moins de textes.

Gerard Arnaud Cite Technique,

26-Romans, France.

HELP FROM LEONARDO

I have recently completed a book for the pub- lishers Studio Vista Ltd., to be published in the autumn. It is intended for art students, teachers and anyone who is interested in visual research.

The final chapter of the book consists of a selection of work and personal comment by contemporary artists, examples of concentration upon the specific areas of visual expression which I have been con- cerned with exploring, namely, line, shape, volume and light. Leonardo has been most useful to me in my research for this chapter, as it provides a unique platform for artists to speak directly about their own work. I am grateful to Leonardo for allowing me to include excerpts of articles by three of its contrib- utors: Malina, Alcopley and Seuphor.

As an artist myself, I believe that the confronta- tion between one's own notes on approach and procedures, and those of others, is the most en- lightening kind of communication between artists at all stages of development.

PLUS DE PHOTOS ET MOINS DE TEXTES

Mes deux collegues sont, comme moi, tres satis- faits de votre revue, sauf en ce qui concerne l'6qui- libre entre la longueur des textes et le nombre de documents photographiques. Nous pensons qu'il faudrait davantage de photos et moins de textes.

Gerard Arnaud Cite Technique,

26-Romans, France.

HELP FROM LEONARDO

I have recently completed a book for the pub- lishers Studio Vista Ltd., to be published in the autumn. It is intended for art students, teachers and anyone who is interested in visual research.

The final chapter of the book consists of a selection of work and personal comment by contemporary artists, examples of concentration upon the specific areas of visual expression which I have been con- cerned with exploring, namely, line, shape, volume and light. Leonardo has been most useful to me in my research for this chapter, as it provides a unique platform for artists to speak directly about their own work. I am grateful to Leonardo for allowing me to include excerpts of articles by three of its contrib- utors: Malina, Alcopley and Seuphor.

As an artist myself, I believe that the confronta- tion between one's own notes on approach and procedures, and those of others, is the most en- lightening kind of communication between artists at all stages of development.

PLUS DE PHOTOS ET MOINS DE TEXTES

Mes deux collegues sont, comme moi, tres satis- faits de votre revue, sauf en ce qui concerne l'6qui- libre entre la longueur des textes et le nombre de documents photographiques. Nous pensons qu'il faudrait davantage de photos et moins de textes.

Gerard Arnaud Cite Technique,

26-Romans, France.

HELP FROM LEONARDO

I have recently completed a book for the pub- lishers Studio Vista Ltd., to be published in the autumn. It is intended for art students, teachers and anyone who is interested in visual research.

The final chapter of the book consists of a selection of work and personal comment by contemporary artists, examples of concentration upon the specific areas of visual expression which I have been con- cerned with exploring, namely, line, shape, volume and light. Leonardo has been most useful to me in my research for this chapter, as it provides a unique platform for artists to speak directly about their own work. I am grateful to Leonardo for allowing me to include excerpts of articles by three of its contrib- utors: Malina, Alcopley and Seuphor.

As an artist myself, I believe that the confronta- tion between one's own notes on approach and procedures, and those of others, is the most en- lightening kind of communication between artists at all stages of development.

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